Capillaries Capillaries WW
Tadej Droljc - 2017

Audiovisual language in the work emanates from a non-hierarchical relationship between sound and image in real-time. Therefore the piece does not represent a visualisation of music or sonification of an image but rather a tangle of audiovisual interactions. In a bottom-up compositional approach, every compositional decision came as a consequence of cross-fertilisation between both modalities. In combination with preferred aesthetics this results in strong bonds between sound and image that essentially function as a compositional constraint - the limits of visual paradigm prevent or constraint certain musical expressions and vice versa. These limitations on the other hand open up many additional possibilities. One that is of particular interest of me and was explored extensively in the piece is the ability of both modalities to modulate the meaning of each other on the level of perception, hence in very abstract and subjective way.

The abstract narration of the piece follows the development of one and the same audiovisual entity that goes through various transformations and consequently various life stages. Each stage is represented by vaguely defined section that has its own stylistic variation of the audiovisual language, with its own level of complexity, order and articulation.

The malleable entity that we experience in the piece is being constantly pulled towards two opposite sides throughout the whole piece. On one side there is a shapeless chaotic movement with corresponding wandering rhythms that comes from procedural noise and physics based algorithms while on the other side there is a magnetic pull from a static 3D object and its accompanying metric musical time. Therefore what we hear and see is a constant interaction of two opposite forces - chaos and destruction on one side and strict relentless order on the other. That coincides with the id, ego and super-ego model which represent the central part of conceptual background. Like the ego is established between the two conflicting forces that constitute, distort, knead and spray out our subjectivity so is the audiovisual material of the Capillaries Capillaries. On the other hand the inspiration for the form comes from the branched trajectories of our everyday life that are shaped by such psychological tensions.

The real-time interaction of audiovisual material plays an important role in this piece. As an example I should point out the rhythm which in the first half of the piece comes from sonification of geometry movement - when two vertices of a 3D object get close enough together they form a visual connection that triggers sound. Playing with geometry in real-time thus enabled me to generate rhythms and phrases. In the second half of the piece the rhythm was precomposed but then distorted and recorded in real-time by using a custom made sequencer that treats time or static temporal grid as an elastic string.